A Rooster Alone Does Not Weave The Dawn, 2021
The Mouth of Truth (detail), 2021, fabric, wood, acrylic paint, crayon, drago blood (dracaena draco), cotton, string, 150 × 70 × 20 cm
Strength, 2021, wood, fabric, drago blood (dracaena draco), acrylic paint, ink, graphite, clay, 40 × 50 × 4 cm
Sea and Sun, 2021, wood, acrylic paint, plastic and found brush, 40 × 70 × 8 cm
Boat, 2021, wood, fabric, drago blood (dracaena draco), acrylic paint, ink, graphite, clay, 40 × 50 × 5 cm
A Rooster Alone Does Not The Dawn, 2021, exhibition view with Strength, Wary Belly, Boat, Sea and Sun
Ghost, 2021, wood, rubber, drago blood (dracaena draco), cotton, clay, string, sand, acrylic paint, 80 × 100 × 150 cm (variable dimensions)
A Rooster Alone Does Not The Dawn, 2021, exhibition view with Blue shark, Facets and What is the thing, what is it
Wary belly, 2021, foam, metal, wood, cotton, drago blood (dracaena draco), tape, synthetic paint, 30 × 40 × 40 cm
Blue shark (detail), 2021, wood, fabric, clay, acrylic and synthetic paint, foam, cotton, metal, rubber, string, straw,
130 × 30 × 200 cm (variable dimensions)
Blue shark later showed in MAAT, 2022, for the occasion of the exhibition Traverser La Nuit (with the collection of Antoine de Galbert), curated by Noelig Le Roux © Photo: Bruno Lopes

A Rooster Alone Does Not Weave The Dawn was a group show at Quinta do Quetzal in 2021, curated by Luiza Teixeira de Freitas and Aveline de Bruin.

“Sara Bichão’s artistic practice has the experimental, the plastic and the organic as fundamental to the thought and development behind her work. There is a rhythm that punctuates each sculpture, each drawing and their relationship to each other. Furthermore, her research process also has an immaterial concept; that of memory. Transposed to the works through the most diverse materials she uses, making its physicality an evidence, in a constant game of experimentalism, exploring the bodily capacities of those same materials that she works with. Here, we find, for the most part, a set of works created during the period of isolation that has been experienced globally in the last year and a half, during which the concept of time took on a whole new meaning – time to think, to find, to experiment. It is from this moment of suspension that new compositions, new colors, new materials emerge, which contain all the plastic and visual characteristics (already so striking) of Sara Bichão’s work, add to these the influence of time that isolation brought. The works turn out to be a kind of self-portraits of that moment, reflections of a personal dive into the infinity of days.”
Excerpt of the curatorial text by Luiza Teixeira de Freitas and Aveline de Bruin, 2021

© Gonçalo F. Santos

Sara Bichão’s working process binds with emotional channels: to heal, to purge, to perpetuate, to play. The works are sculptural with a chromatic atmosphere specific to its own, which at times, are activated by the artist through performative actions. The materials used are often collected/offered/stolen, or come from other recycled and organic resources. More recently, Bichão has also been exploring experimental writing.

Sara Bichão is currently developing a long-term collaboration with La S Grand Atelier – Art Brut et Contemporain, in Belgium.

She was an artist-in-residence at Residency Unlimited (New York, USA) and Finisterrae (Ouessant, FR) in 2022, and has attended other residencies over the past years including: Porta 33 (2020, Madeira, Portugal); Cité Internationale des Arts (2019, Paris, FR); Artistes en Résidence (2017, Clermont Ferrand, FR). She received scholarships from the French Institute (2019, 2022), the Calouste Gulbenkian Foundation (2014) and the Luso-American Foundation (2022).

A selection of her solo shows include: Before I Get Sick at MEEL, Press (2021, Lisbon); What is the thing, What is it at Galeria Filomena Soares (2020, Lisbon); Find me, I kill you at Calouste Gulbenkian Foundation (2018, Lisbon); (2017) Coastal at Barbara Davis Gallery (2017, Houston); My Sun Cries at Portuguese Foundation of Communications (2016, Lisbon); Somebody’s Address at Rooster Gallery (2014, New York).

Some of her past group shows include: Slow Gala at 68 Art Institute (2022, Copenhagen); Twin Islands at Passerelle Centre d’art contemporain (2022, France); (2022) Traverser la nuit: Works From the Antoine de Galbert Collection at Museum of Art, Architecture and Technology (2022, Portugal); Performance 0 at BoCA – Biennial of Contemporary Arts (2021, Portugal); Clorophilia at Porta33 (2021, Portugal); Storytelling at Musée d’art contemporain de Lyon (2019, France); Un pyjama pour deux at Passages Centre for Contemporary Art in Troyes (2019, France); CHAMA at Atelier-Museu Júlio Pomar (2018, Portugal); What I am at Museum of Art, Architecture and Technology (2017, Portugal); }{ { } at Diagrama (2015, Mexico); 2015) Eccentric Exercise II at Kulturni Centar Beograda (2015, Serbia); Soundless Harmonies at Rita Urso Gallery (2014, Italy); Extending The Line at Arevalo Gallery (2012, USA).

Bichão was selected for the FLAD Drawing Prize (2021), Anteciparte’09 (2009), Fidelidade Mundial – Jovens Pintores (2009), BPI – FBAUL (2008).

Her work is part of art collections such as: Antoine de Galbert Collection, France; CACE (State’s Collection of Contemporary Art); FLAD (Luso American Foundation); PLMJ Foundation; EDP – MAAT Foundation; Calouste Gulbenkian Foundation; Carmona e Costa Foundation; MidFirst Bank Collection, Arizona, USA.

Texts (selec.)
Short notes

Sara Bichão
Palácio dos Coruchéus
Rua Alberto Oliveira, Atelier 41,
1700-019 Lisboa, Portugal

Galeria Filomena Soares
Rua da Manutenção n.º 80 (Xabregas),
1900-321 Lisboa, Portugal
+351 962 373 956

Barbara Davis Gallery
4411 Montrose Boulevard, Suite D
Houston, 77006 Texas, USA
+1 713 520 9200